The Surprise Package were a Seattle, Washington group consisting of Fred Zeufeldt (drums, backing vocals), Michael Rohers (piano, organ, bass, backing vocals), Greg Beck (guitar, backing vocals), Rob Lowery (lead vocals).
Their only album was released in early 1969 on tiny LHI label owned by the famous arttist/producer Lee Hazelwood. The Record mostly contained a trippy and quite intense music with lots of Hammond organ pasages, loud and fuzzed-out guitar parts and solid drumming. It can be easily described as a stylistic combination of Vanilla Fudge, The Doors and especially Iron Butterfly.
It worth noting that the title track lasted nearly 16 minutes and its structure wasvery similar to In A-Gadda-Da-Vida. Excellent freaky improvisations in some parts.Very Essential for acid heads. Unfortunately, the album (and also single with cover of MacArthur Park) went almost completely unnoticed. Soon after the band changed its name to American Eagle and 1970 released an eponymous LP for Decca records.
The acting career of Rudy Ramos has covered six decades and started with an appearance on the television show, "Ironside" in 1969. Six months later he was cast as a series regular, playing the part of Wind the volatile half-breed Indian boy in the legendary television western "High Chaparral." Since then he has done over sixty guest shots on episodic television including recurring roles on the hit TV show, "Hunter" in 1987-88 and "Resurrection Boulevard" in 2002-2003.
Mr. Ramos has done numerous movies for television including the ground breaking Helter Skelter (100 million viewers over two nights) playing the part of Danny DeCarlo, Everybody's Baby: The Rescue of Jessica McClure and Dr. Quinn: Medicine Woman: The Movie as the villainous Captain Ruiz.
Feature film credits include The Enforcer with Clint Eastwood, Walter Hill's cult classic The Driver with Ryan Oneal and Academy Award nominee French actress Isabelle Adjani, Defiance with Jan-Michael Vincent and Art Carney, Quicksilver with Kevin Bacon and Laurence Fishburne, Colors with Sean Penn and Robert Duvall and the 2001 sleeper Road Dogz directed by the up and coming talent Alfredo Ramos to name a few.
The stage has been a big part of Mr. Ramos' life with appearances in the Los Angeles area at the Mark Taper Forum, Taper Too, The Met, Matrix Theater, Los Angeles Theatre Center, and Nosotros Theatre. He also was a member of the Los Angeles Actors Theatre and performed in the award winning hit show Shorteyes by Miguel Pinero playing the part of Cupcakes. The ensemble won the 1977 Los Angeles Drama Critics Award for Best Ensemble.
In his spare time Mr. Ramos is very passionate about music. He recorded an album for Fantasy Records in the 70's titled "Hard Knocks and Bad Times." He is also very passionate about horses and is an advocate of natural horsemanship.
CD Liner Notes
Tracks
1. Let`em Roll Johnny (Roger Tillison) - 4:01
2. I Was Amazed - 4:11
3. Nathaniel - 3:01
4. Abraham - 3:28
5. Another Town - 3:06
6. Opel Jackson - 3:35
7. The Sharecropper - 3:05
8. Old Santa Fe (Roger Tillison) - 2:34
9. You Can See It In My Eyes - 4:41
10.Hard Knocks And Bad Times - 3:10
11.Manfred Jones And Willie Drew (Lonnie Hillard) - 2:34
All songs by Phil Sampson except where noted
Personnel
*Rudy Ramos - Lead Vocals
*Phil Sampson - Backing Vocals, Acoustic Guitar, Harp
*Doyle Madden - Backing Vocals, Acoustic Guitar, Electric Guitar
During the late 60's - early 70's my hometown of Worcester, Massachusetts was not very receptive to local bands that played songs they had written themselves. If you were a band that wanted work, you played the hits of the day with some oldies thrown in - not too bad a gig for someone in his late teens (me), because the AM pop and FM "underground" music that prevailed included The Beatles, The Stones, Hendrix, Dylan, Cream, The Kinks, Buffalo Springfield, The Byrds, Creedence Clearwater Revival, Procol Harum, etc., etc....
But I began to write my own songs, and soon I had a few that I considered good enough to perform and record. In the "cover tune" climate of that time, performing these songs live was out of the question - although we'd sneak one or two into a performance unannounced. In 1969, I began recording these songs with my bandmates at Northeast Recording, a 2-track studio in the nearby town of Shrewsbury. Over the course of a year of so I had amassed about 30 demo tapes of songs, most of them amateurish at best. I tried to improve, writing more tunes on my own time while still "playing the hits" on weekends with the band. Here I was with all these songs and no outlet for them except on tape.
In 1973, I ran into Dwight Glodell at Union Music, the local music retailers. Dwight was an acquaintance he was a friend of one of my cousins. We had jammed once or twice and we respected each other's musical abilities. I mentioned that I had all these original songs with no means of exposing them to the public, and when I expressed an interest in possibly cutting my own LP he told me that he was beginning his own small studio above Union Music in the same building. He suggested that we work on my LP project together, and I agreed.
Dwight's studio was a cramped office suite sitting three floors above Main Street in Worcester. There was a tiny control room with homemade speakers for monitors, Ampex preamps and an Ampex 4-track machine, a mixing board with APSI Modules, a few high-quality microphones, a good baby grand piano, an ARP 2600 synthesizer, some insulation stuffed into the windows, and not much else. Armed with these tools and Dwight's fledgling recording chops, we set to work on the recording you are holding in your hot little hands. Oh, did I mention that the studio was named Starizon?
Anyway, as I said before, this was an office suite - surrounded by other office suites filled with 9-to-5 people who wouldn't appreciate someone banging on musical instruments during the day. We could work on weeknights and weekends when I wasn't "playing the hits", so we settled into this schedule immediately. I enlisted Dave Rice to play drums, my then-girlfriend Dorrie Powers to help with graphics and background vocals, and my buddy and musical right-hand man Denis delaGorgendiere to help on vocals and bass.
We worked with the attendant difficulties of recording 4-track analog - - - calibration problems, tuning problems, noise problems (both environmental and electronic), overheating problems, humidity problems, string players who couldn't read charts properly, running-out-of-tracks problems....AAARRRGGHHHHH!!!!!!!!
In order to have more tracks to record on, we eventually transferred this never-ending project to a Scully 8-track professional 1-inch recorder.
I don't even remember how long it took to record these songs. Tracks were scrapped. Tracks were accidentally erased. Tracks that sounded perfect the day before now refused to play in tune. The string section for "Michael Henchard" had to be scrubbed and replaced with the ARP synth. We laughed; we cried. And then towards the end of the project Dwight approached me with the idea of scrapping the whole thing and starting over, no extra charge. I couldn't do it. I couldn't return to that circus of temperamental equipment and human error. I had new songs to record with more ambitious arrangements, and I was chomping at the bit to move on. I decided to release it, even if parts of it were unfinished. The year was 1974.
In the early to mid 70's a local independently released LP in Central Massachusetts didn't stand a chance. Most record stores would not carry a record that wasn't handled by a distributor. Distributors wouldn't touch a record that was on an ad hoc label. Publicity was the "local boy makes his own LP" story in the Worcester Telegram & Gazette. "Songs From Down The Hall" died on the streets after a few months and even fewer initial sales.
Denis, Dorrie, Dwight and I began recording new songs, and when Starizon Studios folded in the mid 70's we moved the new recording project into Northern Recording Studios in Maynard, Massachusetts. The Starizon LP was becoming an afterthought, and as the new project took shape I abandoned "Songs", a record that I believed was an important learning experience, but a dead issue commercially and not as good as the new recordings.
Skip ahead about 25 years. With the advent of internet directories, letters about "Songs From Down The Hall" started appearing in my mailbox. I began to get requests for copies of the LP from places like Texas, New England, New Jersey, The United Kingdom, Austrailia and Switzerland. Who'd-a thunk it? The thing took on a life of its own, finding a home in record collections across the planet. I began to receive requests for any additional unreleased recordings, too. So consider this re-release on CD the first chapter. There are a few 2-track demos from the Northeast sessions with Denis on bass and Dave on drums, demos of two unreleased songs that aren't TOO embarrassing, and a finished version of "Old Richard" (released in an unfinished version on the LP because of tuning problems with the harmonica).
'Tuesday's Children' were formed in 1966 by Phil Cordell, Mick Ware and Derrick Gough who had been in North London band 'Steve Douglas and the Challengers' who later changed their name to 'The Prophets'. The Prophets did some recording with producer Joe Meek, but nothing was ever issued. When Steve Douglas and Freddie Fields left, the others reformed the band as Tuesdays Children. Paul Kendrick subsequently joined on bass guitar.
The first single was written by Phil Cordell and was recorded at Maximum Sound studio in The Old Kent Road, SE London. The engineer was Vic Keary and it was released on the Columbia label, DB7978 in August 1966. Tuesday's Children personnel was then Phil Cordell and Mick Ware, guitars, Paul Kendrick, bass guitar, and Derrick Gough, Drums. Dave Vidler (mentioned on the label) was the groups' manager.
The B side was another song written by Phil Cordell entitled 'High and Drifting'. 'When You Walk In The Sand' was in the Radio London Fab Forty for 2 weeks, no. 39 on 7th August 1966 and at no. 27 on 14th August 1966. Radio London was one of the pirate radio stations that were broadcasting at the time, they were put out of business in 1967 when the government passed the Marine Offences Act, BBC Radio 1 started directly as a result of this. Radio London also owned Pall Mall Music who published the Phil Cordell songs that were the first 3 Tuesday's Children singles.
Another song by Phil Cordell, it was also recorded at Maximum Sound Studio. Released by Columbia in October 1966, no. DB8018. The mandolins were recorded on a separate 2 track machine and 'fired in' at the appropriate moment on to the 4 track machine. The B side, also written by Phil Cordell, was entitled 'Summer leaves me with a sigh'. 'High On A Hill' was in the Radio London Fab Forty for 3 weeks reaching the following chart positions: no. 30 on 9th October 1966, no. 24 on 16th October 1966, and no. 36 on 23rd October 1966.
"Strange Light From The East" was again recorded at Maximum Sound studio and was written by Phil Cordell This single was released on the King label KG1051 and was released in January 1967. The King label was owned by Rita King and it and its subsidary labels were more associated with ska and reggae music at the time. Tuesday's Children managed to get a front cover on the pop magazine 'Fab 208' as publicity for this single. (see Tuesday's Children archive page). B side was a reworking of the Buddy Holly song 'That'll be the day'. 'Strange Light From The East' only made the Radio London Fab Forty for 1 week, it made no. 37 on 29th January 1967.
Phil Cordell quit Tuesday's Children in summer of 1967 and subsequently had solo hits as Springwater (I will return) and in Europe with 'Dan The Banjo Man' amongst others, he also had a single 'Red Lady ' released on Warner Brothers WB8001 in 1969. In August 1967 Bob Hodges (Hammond organ, ex Attack), Phil McKenzie (tenor sax, ex TNT, later Rod Stewart band) and Roger Davies (baritone sax) joined the reformed Tuesdays children.
Trumpet player Hilary Roy also joined and did 4 gigs with the group in September 1967. 'Baby's Gone' was recorded at Abbey Road studios on 19th September 1967 and 3rd October 1967, the whole band played on the session plus some brass players from producer Jack Dorsey's band. Mick Ware sung the lead vocal and backing vocals were supplied by girl group the Paper Dolls. There is also a demo version of 'Baby's Gone' that has some brass on it but not the backing vocals. The song was written by Peter Callander and Mitch Murray and was released on the Pye lanel, no. 7N.17406. The B side was written by Mick Ware and was titled 'Guess I'm Losing You', this features the baritone sax of Roger Davies and the tenor sax of Phil McKenzie. 'Baby's Gone' was released on 10th November 1967.
By December 1967 Tuesday's Children had become a 4 piece again with the departure of Roger Davies and Phil McKenzie. 'Ain't You Got a Heart' was another Murray/Callander song produced by Jack Dorsey with help from some of his brass players. It was recorded at Pye studios in London on 9th January 1968 and the B side 'In The Valley Of The Shadow Of Love' (written by Mick Ware) was recorded at the same studio on 12th January 1968. The B side also featured backing vocals by Paul Kendrick and Bob Hodges. The A and B sides were switched sometime after release but the long classical intro to 'In The Valley' did not make it very radio friendly.
'Bright Eyed Apples' was originally going to be the A side but 'She' became the A side after it was featured in a short film '29' which starred Alexis Kanner who had been in the TV series 'Softly Softly' and 'The Prisoner'. The film ran for just 26 minutes and also starred Yootha Joyce, who was well known as a TV actress appearing in the comedy 'George & Mildred' amongst other shows. Tuesday's Children had a cameo appearance in the film in a scene in a nightclub, which was filmed at the London club 'Sybillas' on the 6th April 1968, the group receiving the princely sum of £45.00 for its appearance.
When the film was released it played as the 'B' movie to cult film 'If', directed by Lindsay Anderson and starring Malcolm McDowell. 'She' was written and sung by Mick Ware who also did the orchestral arrangement with Bob Hodges. Johnny Arthey directed the orchestra on the session. 'Bright Eyed Apples' had been a hit for an English group called 'The Rokes' in Italy under the title of 'Mele Mature'. The original (which was written by Shel Shapiro and Roger Shepstone of the Rokes) featured a sitar which was a popular instrument at the time, mainly due to George Harrisons influence.
Sometime before signing to Philips in 1968, Tuesdays Children recorded two Mick Ware songs: 'Mr Kipling' and 'Baby I Need You'. They were recorded on 6th, 13th and 15th May 1968. Although finished they were never released. 'Mr Kipling' and 'In The Valley Of The Shadows Of Love' were released on a Sanctuary Records 1960's compilation CD some years ago.
I also have note of two sessions on 5th and 12th December 1968 when the band recorded two songs titled 'Love' and 'Rain' and also 'Ritual Fire Dance', although the finished version of this was recorded in 1970 (see Czar: Other Recordings page).
Tuesdays Children did a Radio 1 recording on 1st December 1967 that was broadcast during December on 'Petes People', a Sunday night show presented by DJ Pete Murray. As far as I can remember 4 songs from the live set were recorded in a 3 hour session. This was the first thing that the group had done as a 4 piece after the departure of the brass players on 26th November 1967.
by Bob Hodges with help from Mick Ware
Tracks
1. Strange Light From The East (Phil Cordell) - 2:25
2. Summer Leaves Me With A Sigh (Phil Cordell) - 2:44
3. When You Walk In The Sand (Phil Cordell) - 2:56
4. High And Drifting (Phil Cordell) - 2:42
5. High On A Hill (Phil Cordell) - 2:59
6. That'll Be The Day (Norman Petty, Buddy Holly) - 2:21
7. Ain't You Got A Heart (Peter Callander, Mitch Murray) - 3:32
8. Baby's Gone (Phil Cordell) - 2:24
9. Guess I'm Losing You (Mick Ware) - 2:25
10.In The Valley Of The Shadow Of Love (Mick Ware) - 4:15
11.Mr Kipling (Mick Ware) - 2:24
12.Baby I Need You (Mick Ware) - 2:39
13.She (Mick Ware) - 2:50
14.Bright Eyed Apples (Shel Shapiro, Mike Shepstone) - 3:39
15.Doubtful Nellie (Paul Kendrick) - 3:07
16.Ritual Fire Dance (Manuel De Falla, arr. Bob Hodges) - 7:38
17.Red Lady (Phil Cordell) - 2:30
18.Baby's Gone (Demo) (Peter Callander, Mitch Murray) - 2:18
East Londoners Hokus Poke consisted of Clive Blenkhorn (lead vocals, guitar), Roger Clarke (guitar, vocals), Smith Campbell(bass, vocals) and Johnnie Miles (drums). Blenkhorn had previously played in a band called Mystic Sid (originally named Black Sabbath, blissfully unaware of the already active Birmingham bunch!). Clarke, meanwhile, had been with the Justus 5 and soul bands the Grenades and the Freddy Mac Extravaganza.
Hokus Poke landed a residency in the Thomas A-Becket pub in the Old Kent Road, and came to the attentionof songwriter-producer Kenny Lynch, who became their manager and obtained them a contract with Philips in 1971. The sessions for their lone album took place at George Martin's Air studios in London, and the results crept out on the fabled Vertigo imprint early the following year, with barely any promotional support. The label refused to approve the title the band favoured, First Poke, so it was named Earth Harmony instead.
Although safely within the progressive genre, it hints at an apprenticeship in the late psychedelic period, combining the progressive ambitions of acts such as Genesis and Wishbone Ash with the bare-knuckle enthusiasm of Budgie and Atomic Rooster, as well as the pastoral approach of similarly unsuccessful acts Northwind and the Parlour Band. In particular, the pairing of Clarke's steel guitar and Blenkhorn's masterful riffing with a solid rhythm section distinguished cuts such as the powerful Sunrise Sunset (The Sunset) and blazing Hag Rag.
It's surprising that more contemporary listeners weren't convinced of their worth, despite appearances on radio shows such as Sounds Of The Seventies. Following lacklustre sales, Vertigo denied the band a chance to make a follow-up, and they split soon afterwards, little expecting that collectors and prog connoisseurs would compete to pay hundreds of pounds for copies decades later. Clarke went on to play with Sailing Shoes, while Campbell teamed up with members of fellow Vertigo alumni Clear Blue Sky to form the Needle, and drummer Miles joined Kala, who made a self-titled LP for Bradleys in 1973.
CD Liner-Notes
Tracks
1. H.P. Boogie (Clive Blenkhorn, Roger Clarke, Smith Campbell) - 6:02
2. Sunrise Sunset (The Sunset) (Clive Blenkhorn, Roger Clarke) - 7:14
3. Big World Small Guy (Roger Clarke, Smith Campbell) - 5:03
4. Down In The Street (Clive Blenkhorn) - 3:56
5. Hag Rag (Johnnie Miles) - 5:13
6. Living In Harmony (Clive Blenkhorn) - 5:07
7. Time And Space (Clive Blenkhorn, Johnnie Miles, Roger Clarke, Smith Campbell) - 4:23
8. The Poke (Clive Blenkhorn, Roger Clarke) - 3:47
Arkansas US band Faxx self-released this album in 1977. An excellent mix of Hard Rock, Blues Rock, Southern Rock and Boogie, with 2 guitars, bass, drums and keyboard.
Tracks
1. Shadowfax (Tommy Akers, Chuck Pitman) - 3:33
2. Caramia (Tommy Akers, Chuck Pitman) - 4:53
3. Please (Chuck Pitman) - 3:19
4. Country Girl (Chuck Pitman , C. Doyle) - 2:33
5. I Wish I'd Been Born Pretty (Tommy Akers, Chuck Pitman) - 3:47
6. Colin's Boogie (Chuck Pitman , C. Doyle) - 3:56
Absolutely unique progressive rock from 1970. Eastern tinged, the lead guitarist falls in spiralling electric noodling with hypnotic drums taking the listener's mind into new and shadowlike prog dimensions. Keith Moon thought this band was sensational after he saw them support Alexis Korner. Divisive music and absolutely identifiable as pure 1970
Tracks
1. Seeing Souble - 5:27
2. Eastern Wind - 8:11
3. Genghis Khan - 5:37
4. Social Outeast - 4:46
5. Kinky Funk Adlibs - 6:59
6. Better Look Twice - 4:23
7. Kara The Khan - 9:15
8. Song Test - 1:13
9. Instro Test - 2:25
10.Heavy Love - 6:41
11.Fortunes Of War - 8:33
12.Samarkand - 2:52
13.Unknown Song - 3:15
All compositions by James Williams, Martin Chambers, Paul Cobbold
Orphan is a group from Kansas City, Missouri, led by brothers Lance and Kevin Merenbruch. This is their first album, released in 1977 as a private press self-release on USA's OMI Records, and features four members: the Merenbruch brothers, Hugh Rudick, and Tom Sutherland. The sound is generally pop-hard with a progressive tone, and it is a strange combination of pop-ness and rockin' hardness, which can be heard in melodic hard music and AOR hard music, as well as in the melodious hard music and AOR hard music.
The lead guitar, which is sometimes shaky but generally fluent, plays throughout the solos and between stations, and the cool acoustic guitar and gentrified vocals are not bad either. The rhythm section is steady and the playing is not broken, and the West Coast-style catchiness of the music is on the straight and narrow. The guitar riffs and phrases are rather cool, and the arrangements are well thought out, suggesting that the band must have been reasonably competent locally. I think this is a good album in the sense that it is very much an independent release. After releasing the second album in 1980, the band broke up, and Kevin went on to play in YDL at the end of the 80s.
Tracks
1. You What You Do - 3:40
2. Open Skies - 3:40
3. I Believe - 5:07
4. Burning Red - 3:40
5. Blind - 3:42
6. Morning Sun - 5:32
7. Everyday Searchin - 5:02
8. Directed - 5:24
9. Stop The Rain - 6:43
All songs by Hugh Ruddick, Kevin Mellenbruch, Lance Mellenbruch, Tom Sutherland
Goddo is a Canadian 3-piece hard rock band originating from Scarborough, Ontario that formed in 1975. Greg Godovitz (bass/lead vocals), Gino Scarpelli (guitar), and Doug Inglis (drums) unleashed a brand of powerhouse arena rock featuring heavy riffing guitar and a thunderous rhythm section of bass and drums. They released their first single, “Under My Hat”, from their self-titled debut album in 1977 under Polydor Records which became a radio hit.
Although primarily a supercharged high octane power trio, they also included elements of jazz and crushing blues rock. Godovitz together with drummer Doug Inglis and guitarist Gino Scarpelli set about recording their debut album in Montreal, unleashing one of the most striking Canadian debut albums of all time. Issued in early 1977, and housed in a superbly illustrated gate-fold cover, the album kicks off with 'The Bus Driver Blues' a lyrically hilarious track written about the band's previous drummer who left the group to drive a school bus. Other tough-nut rockers include 'Drive Me Crazy', 'Let That Lizard Loose' and 'Hard Years'. Of course, the jewel in the crown is the jazz tinged 'Under My Hat', a song complete with truly memorable hook and menacing vocals from Greg.
The idea that 4 geniuses stumbled upon a crumbling Downton Abbey in Monmouth- shire in 1971, moved in, and recorded a suite of masterpieces between 1972 -1974 that no one has ever heard is so attractive it must be, and is, true. A pony trekking Baronet, a Lord of Bards, a Casey Jones lookalike and a man who swore to change his name to Mer- leau-Ponty if he lost a bet, and did. That was The Great Crash. And Deadfire Echoes is the sublimest lost masterwork of British Rock. It may be the British answer to Deja Vu.
Hints of early Elton John at his finest, of 10cc, of Edwardian melancholia and Noel Coward, and W.E.Johns and Wodehouse. The original- ity in this record alone, is simply overwhelm- ing. That a song about a Celebration Dinner is an intricate, complex masterwork of pathos, and one of the finest works in the rock and roll pantheon. This then is The Great Crash, and our great privilege to let these exquisite songs finally be heard.
The former home of The Great Crash, Plas Llecha, became Loco Studios, and the ghosts of these songs swirled unknown around Oasis and The Verve.
Liner-Notes
Tracks
1. Magnolia Street - 4:14
2. Deadfire Echoes - 5:02
3. Celebration Dinner - 4:35
4. Never Been So Long - 3:45
5. Sophia - 2:52
6. Beyond The Pyramids - 4:38
7. Naughty Postcards - 2:36
8. Monastery Wine - 3:10
9. Regimental Reunion - 4:43
10.She's A Winner - 5:38
11.Drugstore Cowboy - 3:52
12.Love Will Find A Way - 2:57
13.Crystal Waters - 3:41
14.Memorial Twist - 2:37
15.Silver Wing (George Benn) - 3:53
16.Witchfinder General (George Benn, Nick Smith) - 3:22
17.She Throws It All Away - 3:35
18.The Sweetest Thing - 4:51
19.Let It Rain (George Benn, Nick Smith) - 2:18
20.Cool Mountain Water (George Benn, Nick Smith) - 3:23
21.Western Shore (George Benn, Nick Smith) - 3:22
All songs by Alan Gray, Piers Geddes except where stated
Yoga Records, in collaboration with Riverman, are hitting it out of the park in their first year. It seems a shame I haven’t heard this record before, as it’s an easy new favorite. Ted Lucas got his start playing in a Detroit folk revival band called The Spike-Drivers, eventually leaving to form other groups The Misty Wizards, Horny Toads, and the Boogie Disease. While he was a respected figure in Michigan’s folk and rock scene, his self-titled solo album (recorded largely in his attic studio during 1974) failed to break beyond local recognition.
The promo sticker nails the sound, placing Ted Lucas next to legends John Fahey, Nick Drake, and Skip Spence. It’s a right on comparison when you hear what this album has to offer. Each side of the record is plainly its own thing; Side A being a suite of six perfectly sweet folk originals and Side B containing an instrumental, an extended blues jam, and an 8-minute raga. The first three tracks have melodies that seamlessly weave in your head on first or second listen. “I’ll Find A Way” is the sleeper knockout, tucking in after the record’s gorgeous three song opener: “Plain & Sane & Simple Melody,” “It’s So Easy,” and “Now That I Know.” These tunes are so easy to love and will have no trouble lodging comfortably in your head.
I can’t contain how much I dig the side A closer “It Is So Nice To Get Stoned,” especially when “Sonny Boy Blues” on side B warns “you better stop drinking that wine.” Arrangements are sparse, an acoustic guitar gracefully ornamented with sitar drones (Lucas played uncredited sitar on the Tempations’ “Psychedelic Shack”) and delicate electric fingerpicking, with some auto-harp and tasteful percussion elsewhere. For a lost psych-folk record, the sound is remarkably current.
Comes in a faithfully reproduced LP-style package, with a facsimile of the original insert, new liners and a save-worthy protective cover. Yoga just might make the CD format cool again! Even so, I might have to spring for the vinyl. The insert, by the way, is wonderful, showcasing a badass t-shirt with Stanley Mouse’s cover design and contains the lyrics and chords to the songs on the first side. Got to be one of the best reissues of the year.
by Brendan McGrath, September 28th, 2010
Tracks
1. Plain Andane Andimple Melody - 2:40
2. It's So Easy (When You Know What You're Doing) - 2:58
Like her famous brother James, folksinger Kate Taylor has shared a love for music since she could remember. Her roots in rockabilly and pop flesh out her connection to the classic Appalachian stylings she's known to perform. She formed her first band at 15 and had a solo deal with Atlantic four years later; Sister Kate marked her debut in 1971.
A self-titled sophomore effort appeared in 1978, showcasing production work by brother James and Barry Beckett (Alabama, J.J. Cale, Bob Dylan). Kate Taylor was an impressive piece of work; however, 1979's It's in There didn't fare as well. From here, Taylor took a break from the music industry. She resurfaced in 2003 after a 23-year sabbatical to release Beautiful Road. This particular album is a personal one for Taylor. Her longtime manager and husband, Charlie Witham, became ill during its recording and died several months prior to Beautiful Road's April 2003 release. Beautiful Road was dedicated to him.
by MacKenzie Wilson
Tracks
1. A Fool In Love (Ike Turner) - 3:36
2. Smuggler's Song (Clay Jackson, Ethan Signer) - 2:43
3. Harriet Tubman (Walter Robinson) - 3:33
4. Stubborn Kind Of Woman (George Gordy, Marvin Gaye, William Stevenson) - 4:03
Liverpool based three piece Strife emerged during the mid-seventies amassing a strong live following on the club circuit and releasing an impressive debut album 'Rush' on the Chrysalis label. It was a work of intriguing possibilities, embracing both progressive and harder rock. Their songs were long and convoluted yet also signalled a penchant for melody and purpose that elevated them above the run of the mill units operating at the same time. Sadly, their label failed to recognise the potential and allowed the band to slip between the cracks, and ultimately, due to a contractual production dispute, the band was left in limbo.
Despite facing almost overwhelming odds, the band managed to eventually pick themselves up and negotiated a new record deal with the Gull label, the same outfit that signed Judas Priest and released their first two albums. The resulting Strife album, 'Back To Thunder', was as impressive as their debut, but less flamboyant and more focussed. Indeed, if it wasn't for the fact that they were just ahead of the rejuvenated interest in British hard rock (the NWOBHM) they could well have been sitting comfortably as one of the key acts operating on the scene.
Housing eight tracks, the album boasts a number of standout compositions, including 'Feel So Good', 'Shockproof, 'Sky' and the intriguingly titled 'Fool Injected Overlap'. All solid, punchy hard rock tracks that saw the band embrace a new stylistic approach whilst keeping their progressive rock influences proudly on display. Housed in one of the era's most attractive album sleeves, the record also boasts the appearance of keyboard wizard Don Airey, who was at the time a member of progressive giants Collosseum II."
by Derek Oliver
Tracks
1. Shockproof - 3:34
2. Let Me Down - 5:15
3. Feel So Good - 2:51
4. Sky - 6:07
5. You Are What You Are - 3:53
6. Red Sun (Gordon Rowley) - 3:33
7. Fool Injected Overlap - 6:32
8. Weary Traveller - 3:50
9. You Don't Know - 2:54
10.School - 4:08
11.Go - 2:33
12.Unknown - 4:36
All songs by John Reid except where indicated
Bonus Tracks 9-12
Strife
*Gordon Rowley - Bass, Gong, Vocals
*John Reid - Vocals, Guitar
*David Williams - Drums, Percussion, Backing Vocals
As a fan of Shawn Phillips. it couldn't be missing from my collection, his misunderstood but beautiful album, "Do you wonder", released in 1975, an attempt by Shawn to go into different sonic realms, funky rhythms, excellent arrangements -as always-, great horns. All these in a high perfomance standarts.
Tracks
1. Do You Wonder - 2:57
2. Xasper - 5:12
3. City To City - 3:19
4. Blunt And Frank - 2:49
5. Believe In Life - 5:50
6. As All I Played- Maestoso-Intermezzo-Tristesse - 6:44
7. Golden Flower - 4:26
8. Looking At The Angel - 4:51
9. Summer Vignette - 4:53
All compositions by Shawn Phillips, except "Intermexxo" written by Peter Robinson
For many reasons 1969 was a remarkable year and the beginning of a hugely exciting new era for me....
Kingsley Ward (co-founder of Rockfield Studios) had asked if I would check out a new band that had been bugging him all summer. He wanted to help them and knew they offered something quite different. I first met Karakorum at their next rehearsal within a dilapidated chapel located in the grounds of Harewood Park (Herefordshire).
Of course the music on this album will speak for itself, but on that day, I was instantly blown away not only by their undoubted individual talent as musicians but also because they were each fearlessly original, creative and engagingly different. The band gradually became one of the most intriguing acts to play many of the University/College venues, concert halls and British club circuits - notably London's iconic Marquee Club and the famous Liverpool Cavern Club. It soon became apparent that Paul, James, Martin, and later Rich, were individually unique. They soon began to gain acknowledgements from fellow musicians.
The club/pub scene in London traditionally provided a 'shop window' for A&R reps to discover the latest 'happening' bands. Karakorum was indeed such a band but despite having generated a lot of curiosity and interest, the record industry was not quite ready for them. As time went on, the band's response was to consider changing musical direction. Ultimately, we drifted apart.
Karakorum was an exceptional band and the British music industry had clearly missed out on signing what I still believe would have become one of the UK's finest bands. I'm delighted that after all these years and through this album their creative spirit and musical genius has been allowed to surface once again.
by John Vigar
Tracks
1. Arnold Collins In Drag - 3:46
2. Living My Life - 3:01
3. Prison Bitterness - 4:07
4. Breakfast - 5:22
5. When The War Is Over - 4:34
All songs by James Williams, Martin Chambers, Paul Cobbold
Mark LeVine is an opportunist, taking advantage of this year 1968, discographically blank for his mentor Bob Dylan, to follow in his footsteps. "Pilgrims progress" could have been a logical continuation of the masterpiece "John Wesley Harding" - 1967 as Dylan's shadow haunts these 12 compositions.
The album's title appears to be a nod to John Bunyan's Christian short story and allegory "The Pilgrim's Progress from this world to that which is to come" - 1678-1684. But here there is no question of virtue and puritanism: Mark Levine, draped in the trappings of the cursed poet, makes explicit reference to drugs and sex.
Among the studio musicians are a certain Ry Cooder, who no longer needs to be introduced, and the trio Jerry Scheff, Ben Benay and Toxey French, noted for having shared a few recording sessions with Curt Boettcher and publishing a obscure album under the name Goldenrod.
It's made with exactly the same features as Gentle Soul, and while that one has a soft rock or flowery feel, this one does away with excessive decoration, and has a finish that looks ahead to the singer-songwriter works of the 70s. It has become. Produced by Mike Deasy
Tracks
1. Going To The Country - 4:21
2. Twenty-One Years Older Than Yesterday - 3:44
3. Dr. Grossman - 2:25
4. Purple Dreams Are Creepy - 3:22
5. The Love Song - 3:02
6. Richard Lee - 7:19
7. Miller's Crossing - 2:53
8. Texas Style - 6:37
9. Sure I Can Write - 4:53
10.Better Dad Than Dead - 5:19
11.Nothing More Is Nothing Less - 4:06
12.Periwinkle Blue - 2:27
Words and Music by Mark LeVine
Personnel
*Mark Levine - Vocals, Rythm Guitar
*Ry Cooder - Acoustic Lead Guitar, Acoustic, Electric Bottleneck Guitar, Mandolin
A great record, with lots and lots of twang. They really upped the ante on their country bona fides: the album opens with the jaunty "Here I Go Again," an uptempo country-rock tune that's very reminiscent of the Gram Parsons-era Flying Burrito Brothers, followed by "Fast Locomotive," with some tight, funky chicken-picking guitar straight out of the Jerry Reed playbook, while the instrumental "Katy Warren Breakdown" showcases some awesome Joe Maphis-flavored flatpicking.
Guitarists Andrew Samuels and Tom Phillips display a mastery of country picking that's head and shoulders above what most of the country-rockers were doing at the time, while guest fiddler Tiny Moore adds some sweet licks of his own, around Phillips' dazzling yet concise dobro and pedal steel. More conventional rock/pop riffs come into play on the boogie-funk of "Lost Highway" and the dreary slow-dance power ballad, "Our Day."
As a viable regional band, Redwing might not have been able to set aside their hippie-pop and ballroom boogie roots, but even if those songs give the album an uneven feel, it's still packed with genuine gems. It's also worth noting that all the songs on here are originals, including the humorous, Doug Sahm-ish "Lowdown Samuel," co-written by fiddler-pianist Ed Bogas. If you're looking for a swell souvenir of the San Francisco country-rock scene at it's best, here it is.
Slipcuemusic
Tracks
1. Here I Go Again (Ron Floegel, Tom Phillips) - 2:47
2. Fast Locomotive (Ron Floegel) - 2:18
3. Our Day (Andrew Samuels) - 3:30
4. Katy Warren Breakdown (Kay Warren, Arr By Tom Phillips) - 2:32
5. Lost Highway (Ron Floegel) - 3:54
6. Take Me Home (Tom Phillips) - 4:46
7. Lowdown Samuel (Orkin, Edgar Noel Bogas) - 3:32
8. The Maker's Chain (Andrew Samuels) - 4:12
9. Fingerlickin' (Tom Phillips) - 2:43
10.Burning Love (Ron Floegel) - 2:53
The Redwing
*Ron Floegel - Rhythm Guitar, Vocals
*Tom Phillips - Lead Guitar, Electric Piano, Mandolin, Organ, Pedal Steel Guitar, Dobro
A natural follow-up to the self-titled LP, this record is a bit bluesier than its predecessor, and not quite as gritty. There are three cover songs on this album, all of which are based on basic 12-bar blues patterns. Another strong album, although two Chuck Berry songs may be too much.
While the band used songs they'd been playing for years on their debut, this LP finds the group with not as many up-to-snuff originals ready to roll--thus the number of cover songs. It's still a good LP, and the songs are well-done.
Tracks
1. Reaching Out (Andrew Samuels, Tom Phillips, Ron Floegel) - 2:47
2. Baby C'mon (Tom Phillips, Ron Floegel) - 3:41
3. Waitin' In Jail (Andrew Samuels, Tom Phillips, Ron Floegel) - 3:30
4. Walking The Dog (Rufus Thomas) - 3:56
5. Soul Theft (Andrew Samuels, Tom Phillips, Ron Floegel) - 4:50
6. Hometown Boy (Andrew Samuels, Ron Floegel) - 3:39
7. Bye Bye Johnny (Chuck Berry) - 3:04
8. Every Man Needs A Woman (Andrew Samuels, Tom Phillips, Ron Floegel) - 3:23
9. One Of America's Ten Most Wanted Men (George Hullin) - 3:30
British rock band from Liverpool in the mid 70's. They released two albums, Rush and Back to Thunder. Strife were formed by Paul Ellson in 1969 with Peter Trotman on guitar, Peter Hobbs on bass , and Ellson on drums. Within a few gigs, Gordon Rowley had replaced Hobbs on bass and also became chief vocalist. Around that time, Graham Kin also joined on keyboards and vocals, leaving within a year to return to studies.
Soon (1971), the band were joined by John Reid, ex The Klubbs, on guitar and vocals. They recorded a demo - 'Preparation' c/w 'Jerafter' as a four peice but soon after, Peter Trotman left the band and they were joined by singer Paddy Breen also ex The Klubbs. Breen's sojourn, however, was short-lived.
In '72, John Reid was badly injured whilst Stock Car racing. Peter Trotman stepped in temporarily but, at a Liverpool Club, Gordon Rowley was electrocuted and almost died on stage, being resuscitated by medics from the stunned audience.
Back together again, the 3 piece record "Magic of the Dawn" a demo recording organised by soul singer Edwin Starr who had seen the band at the Mardi Gras club in Liverpool. (Whist gigging nationally, Strife also often played local, Merseyside venues, sometimes playing Liverpool's Cavern Club, two or even three nights in a week.)
In 1973 Strife went to Los Angeles, they had an invitation to contact Mal Evans, Apple executive and former Beatles road manager. They had met Mal on a film set, 'Little Malcolm'. Although their act was considered too wild and attention-grabbing for the film's club scenes (some audience members spontaneously jumped on the tables, thus spoiling the shots) it's possible that the band may be seen as extras (has anyone out there checked?). Mal Evans was working in L.A. with John Lennon, George Harrison and Ringo Starr. However, the media frenzy at this get-together was so intense that, a few hours prior to the arranged meeting, the ex-Beatles and their entourage had left the city for a secret destination where they could continue their work in peace. No-one, including Strife, were told of the departure or the destination.
As the band walked away from the abandoned meeting place, a pink Cadillac did a U-turn and pulled alongside. It was Edwin Starr. Through Starr they soon met up with R.Dean Taylor and recorded a demo album, both in L.A. and in San Francisco, with Taylor as producer. One of these songs, 'Better Man than I' turned up on the album 'Rush'. These sessions also resulted in the acetate 'Worry', believed to be now owned by renown Liverpool DJ, Billy Butler. Whist on a second trip to the US that year, Strife were offered a deal by the William Morris Agency to replace Grand Funk Railroad on their roster. For some reason, the band were unimpressed and returned to the UK to tour; gigs included the last night of the original Cavern Club.
Strife signed with Chrysalis Records in the UK in '74 and recorded 'Rush'. It was released in early '75 with a strong appearance in the Virgin chart (at the time, the main barometer of UK rock music). As the album was released, Strife toured with Ginger Baker led outfit, The Baker Gurvitz Army. Shortly after this tour, they were joined by guitarist Vic Pappaleo but, despite Vic being an amazing guitarist, the format didn't work out. Strife continued as a three piece, working solidly and increasing their fan-base. However, despite the band's popularity, Chrysalis, whilst going through a corporate identity crisis, refused to release any further material - yet they held Strife to their contract. Regardless of the legal situation, Strife were determined to keep recording and recorded the EP 'School', releasing it on their own label, Outlaw. (Their agent, Paul King was later to take the name 'Outlaw' for his highly successful concert promotions company). After Strife eased out of the Chrysalis contract, 'School' was quickly picked up and released by EMI .
During this mid-70s period the gigging figures showed that Strife were the most in-demand rock band in Britain. No band was safe from being blown offstage. Procol Harum paid Strife off, Judas Priest pulled out, The Average White Band turned plain nasty and Slade's manager, Chas. Chandler, gave instructions that his band should never have to appear with Strife again. Moving from support, from '73 onwards, the band headlined in major venues as well as famous rock clubs such as the London's Marquee and Frankfurt's Zoom.
This version will have three bonus tracks from their 1973 Universal Studio Demo of unreleased songs. Both versions will have updated original artwork, but enhanced and redesigned more in line with how the band would have wanted it to look like originally.
Tracks
1. Back Streets Of Heaven - 3:19
2. Man Of The Wilderness (Gordon Rowley) - 4:30
3. Magic Of The Dawn - 3:27
4. Indian Dream (Gordon Rowley, John Reid, Paul H. Ellson) - 6:53
5. Life Is Easy - 2:55
6. Better Man Than I - 3:07
7. Rush - 12:02
8. Magic In My Mind (Gordon Rowley, John Reid, Paul H. Ellson) - 3:40
9. Tawny Eyes (Gordon Rowley, John Reid, Paul H. Ellson) - 3:09
10.Worry (Gordon Rowley, John Reid, Paul H. Ellson) - 6:42
All Songs written by John Reid except where indicated
Tracks 8-10 Demo recordings at Universal Studios, Los Angeles
